Italy, Late XIX Century

Chandelier in wrought iron and sheet metal worked with phytomorphic motifs in neo-Renaissance style, with six lights, the bobeche are with floral corollas.

Italy, Early XX Century

Liberty bridge bookcase, in the uprights it has a paneled door surmounted by a door with blown glass (in one of the two it is damaged), the upper part of the niche has a pair of doors with glass. In oak, it has scroll carvings and a coat of arms with initials "AB" rack on the inside.

Italy, Late XVIII Century

Majolica pod plate decorated with great heat in monochrome blue. Decoration made with two daisies placed side by side surrounded by plant racemes in the center of the cavetto and along the edge.

Italy, Late XIX - Early XX Century

Antique chair in walnut, carved with neo-Renaissance style motifs, seat and backrest band in leather.

Table with enamelled metal base, wooden top covered in laminate. Ruined top.

The Bonfire under the Snow, 1979

Oil on glass. At the bottom right are the signature and date, accompanied by the artist's symbol, the stylized figurine of a man in a wheelchair. It is a work on glass by the painter Mario Previ, who has lived and painted in a wheelchair since the age of eighteen, due to quadriplegia resulting from a dive into his Taro. He said of himself: "The world, the passage of time, from this point of view (the wheelchair) teach many things. You learn to wake up every morning with a purpose, even if your body is in pain, if every gesture generates suffering and depending on others and giving up could be an easy solution. And instead, art, painting, together with the serenity of my world, of friends, give me incredible energy. They saved me, giving me the strength to live". In 1974, three years after the accident, inspired by a television program on Yugoslavian naïve painters, in particular by the works on glass of Mijo Kovacic, Previ began to paint and learn the art of painting on glass as a self-taught, until he to make himself known and appreciated for his paintings. In his naifs Mario Previ tells a reality that has almost disappeared, real stories albeit in a fairy-tale tone, he revives lost traditions, slices of life that belonged to other generations, those of peasant civilization (from which he also comes), but what emerges most from his visions are the "forë", those that could once be heard in the "firossi", the traditional evenings of the hamlets of Parma dedicated to meeting to tell anecdotes, stories and historical curiosities, often in front of the fireplace fire, when outside it was cold and snowing. The work is presented in a frame.

Ceiling lamp, chromed metal, worked glass inserts.

France, Early XX Century

French ceramic plate. Polychrome decoration with stylized flower motif in the cord and on the brim.

Size 18

Blue fabric jacket with aviation vertical stripes. Single-breasted three-button fastening, four front pockets. Lined interior with three additional pockets. Sleeve shortening is reported. Sleeve length: 60 cm.

Provence Late 19th Century

Beech cradle supported by moving feet connected by crosspieces, the basket is delimited by turned elements, is equipped with a pole ending with a swan's head, used to fix the fabric curtain.

Tempera and oil on panel. Venetian-Cretan school of the 17th-18th century. The term Venetian-Cretan School (or Creto-Venetian) indicates an important pictorial school, also known as the Post-Byzantine school, a movement that flourished on the island of Crete under the control of the Serenissima of Venice between 1204 and 1669. Thanks to the political situation, particularly after the fall of Constantinople, Crete became the main Christian artistic center of Greek origin from the fifteenth to the seventeenth century. In this environment a particular pictorial style developed which was marked by tradition and movements of both Byzantine and Latin origin. In particular, given the important demand for Byzantine icons in Europe, the island soon became a center of production of these works of art. The style of the Byzantine icon is found in this work, which proposes a subject widely re-proposed in art, namely the Adoration of the Shepherds at the birth of Jesus: the figures of the Holy Family and the Shepherds are strongly attributable to the traditional Byzantine iconographic representation , but they are placed in a more Latin landscape, which opens wide, with a depth of perspective that refers to seventeenth-century European landscape painting, without the traditional gold background but with chromatic choices that still recall the divine golden light, in particular where an angel announcing the Glory of God looks out from the open heavens. The painting has a detachment of the paint in the central part, corresponding to a previous restoration, which requires further recovery. On the back of the plate there is a sealing wax stamp. The painting is presented in an antique wooden frame.

Italy, XIX Century

Chest built with wood dating back to the 17th century. Top and sides made of painted wood, frame under the top and richly carved and gilded front depicting putti in the central reserve and faces within the lateral reserves. Italy 17th century

Italy, Early XX Century

Art Nouveau cupboard supported by shelf-shaped feet, on the front it has a pair of doors, a compartment accessible through two sliding doors with blown glass and a pair of drawers in the band; a stand with shelf and mirror rests on the built-in marble top. In mahogany, the sideboard is adorned with characteristic Liberty-style floral carvings; fir interior.

Foldable wooden coat hanger inspired by the ancient Chinese game, with an opening-closing mechanism made with a steel washer. Winner of the Compasso d'Oro award in 1979.

Early XVIII Century

Pair of baroque chairs with shaped backs and padded seats upholstered in leather, Umbria, early 18th century. Walnut structure, crosspieces and spool front legs. A coat of arms is painted in the center of the backrests, which seems to correspond to the coat of arms of the Fedeli family of Spoleto, portraying a dressed faith (in heraldry the faith indicates two hands shaking) with a six-pointed gold star at the top. The leather covering of one seat was replaced in the 19th century.

First Fourth XIXth Century

Empire frame, the edge is carved with successive leaves, it is entirely gilded; presented with "Napoléon" print.